FS7: FS7 matching AMIRA

gene_can_sing said:
Alexa already does this. When you bring in Alexa C-Log footage into Premiere, it just applies the Alexa LC709 LUT for you automatically. I think it's just a matter of Adobe adding a script and LUT into Premier to do that with Sony Footage. But they probably won't because Sony does not have as much pull as Arri.
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Th last thing I want is Adobe messing with my footage automatically.
 
The future will be mechanisms whereby the LUT you monitored with will be applied by default in post.

Arri is already doing this in Premiere, FCPX and Avid with the newest cameras in their range, the Amira, the Mini, and the Alexa SXT. No giving post special instructions on which LUT to use, you can skip dailies if you want, and "going under the hood" to work with the underlying Log is a checkbox away.

Red does this too, more or less. It's raw, an it's decoded by default with the "view" settings you setup when you shot the clip.

The best part of this though is that if you need to shoot with special look parameters "we're going to make this all blue and dark in post", you can dial it up while shooting to your specs, and then what you saw will make it through post if the post people are not savvy.

It's not scary.

It's giving the shooter back control.
 
+1 Nate

its hardly scary. I've had Adobe and fcpx handling my Red footage this way for years already.
 
Well, the preference is set in the camera when you are shooting. The software just handles it right away in the background.
No idea what you guys are worried about
 
Yoak said:
Well, the preference is set in the camera when you are shooting. The software just handles it right away in the background.
No idea what you guys are worried about
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Exactly! I just want my NLE to recognize the existing meta data already recorded.
 
You all have no idea how Inept people are in most postproduction pipelines at least in the Cable Doc/Newsmagazine world.
A decade of reality tv has dumbed everyone down in television not just the audience.
Not savvy is an amazing understatement.

Nate Weaver said:
The future will be mechanisms whereby the LUT you monitored with will be applied by default in post.

Arri is already doing this in Premiere, FCPX and Avid with the newest cameras in their range, the Amira, the Mini, and the Alexa SXT. No giving post special instructions on which LUT to use, you can skip dailies if you want, and "going under the hood" to work with the underlying Log is a checkbox away.

Red does this too, more or less. It's raw, an it's decoded by default with the "view" settings you setup when you shot the clip.

The best part of this though is that if you need to shoot with special look parameters "we're going to make this all blue and dark in post", you can dial it up while shooting to your specs, and then what you saw will make it through post if the post people are not savvy.

It's not scary.

It's giving the shooter back control.
Click to expand...
 
What I'd love to see is a lut that will tweak slog3.cine to get it c-log as close as possible. So I could have an option to burn it in and provide to colorist a footage in log that resembles arri.

Edit:
Sorry for typo, I meant logC not c-log.
 
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Sorry, logC of course ;) Not c-log. Not sure why laughing from this idea? If it's possible to create a lut marching fs7 to amira in rec709 why it's not possible to create a lut for matching it in log? Of course highlight roll off will be different but at least magenta could be dialled in to match logC. If there is some major fault in my thinking please point it out.
 
You just have to go into LutCalc and select S-Log3/S-Gamut3.cine to Arri LogC/Alexa Wide Gamut and off you go ;)

You can do this with SL2/SG, SL2/709 or Canon C-Log/709 as well!
 
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